October 30th 2012 was a huge day in pop culture history. Not only did Disney reveal that they had purchased the Star Wars intellectual property (IP) from Lucasfilms, but they also announced that a new Star Wars film would be released in theatres in 2015. This was massive news as there hadn't been a new Star Wars movie since the last prequel trilogy was released in 2005. In its own time, the late 90s, the announcement of the prequel trilogy had garnered a similar reaction as the galaxy far far away had not been seen on screen, aside from two made-for-television movies in the mid-80s, since the completion of the original trilogy in 1983. However such moments of elation and child-like excitement at the prospect of returning to a familiar story have become few and far between. One never has the chance to miss these well-loved worlds as they never leave theatres!
Since its announcement of what would become The Force Awakens back in 2012, Disney has added a total of 11 movies and television series to the Star Wars franchise. This output is nearly double what was released during the IP's time under Lucasfilms which lasted 35 years from 1977 to 2012. However, this trend of pushing out new content from an existing IP for content is not unique to Star Wars but one that can be seen occurring in almost all franchises. For example, since its big screen debut in 2008 with Iron Man, the Marvel Cinematic Universe has grown to encompass 56 different titles, averaging a new entry every three months. This level of output is particularly exhausting given the overarching storylines that connect the entire cinematic universe demand that viewers engage with each installment lest they miss any information that will be crucial in understanding the next Avengers style team up movie.
Even outside of the mega franchises of the Disney conglomerate, which also owns Marvel, existing IPs rarely have the chance to gather dust on the shelf because they are constantly being mined for more content. In 2024 alone, of the fifty 'most anticipated releases' only eleven of them are original ideas. While these numbers obviously do not account for every single film being released this year, of which there are likely to be many more that are newly imagined stories, they do account for most of the big studio releases. The focus on franchise films can overshadow original content. With studios investing heavily in established properties, there is less room for innovative and original storytelling. This can limit opportunities for new filmmakers and original films that might offer fresh perspectives and experiences.
However, it's not only the original works that are pushed aside that suffer from the overproduction of existing IPs, the individual installments within these franchises do too. Franchises are seen as being successful because they have a winning formula and thus the studios heavily rely on the elements that originally made the series successful when pumping out the newest installment. This reliance on similar plot structures and character arcs can lead to a sense of repetitiveness with audience feeling like the films lack originality, creativity, and depth. Furthermore, the emphasis on maximizing revenue through established brands can lead to creative stagnation. Filmmakers might be constrained by franchise expectations, limiting their ability to explore new and unconventional storytelling methods. Lastly, as franchises grow, so do audience expectations. Fans develop strong attachments to characters and storylines, and any deviation from their expectations can lead to backlash. This pressure to meet fan demands while maintaining franchise continuity can hinder creative risks and lead to uninspired storytelling. Therefore, within the 'Age of the Franchise' all films are negatively impacted.
However, the end of the 'Age of the Franchise' might be drawing near. As sequels and reboots have continued to flood the market for years, with no sign of slowing down if Disney's revelations of Toy Story Five and Frozen 3 at their most recent D23 convention are any indication, audiences have become more and more disillusioned with such content. What was once an exciting chance to return to a beloved story is now seen as just another heartless cash-grab. One of the clearest indications of this is the decline in box office returns for recent franchise films. For example, while Avengers: Endgame was a monumental hit and grossed 2.798 billion dollars, the latest MCU film, The Marvels, only brought in 206.1 million. As mentioned above, there has also been a considerable decline in critic and audience reception of these films. For example, both Star Wars: The Rise of Skywalker and Fantastic Beasts: The Secrets of Dumbledore were met with disappointment from both critics and fans, suggesting a growing weariness with predictable narratives and unoriginal storytelling.
This decline in popularity suggests the end of the 'Age of the Franchise,' as these films are no longer as profitable for the studios that produce them. Originally, the shift towards established IPs made sense from a business perspective. In an era when streaming services were not only hosting hundreds of pre-existing titles but also beginning to produce their own high-quality content, traditional theatres struggled to attract audiences as they once did. The steady income that theatres once provided was diminishing, prompting studios to rethink their strategies. In response, studios poured their resources into producing big-budget franchise blockbusters. The idea was that these familiar and comforting franchises could lure audiences away from their cozy homes and streaming services and back into theatre seats. However, if this strategy no longer proves to be sustainable, studios will likely reconsider their focus on franchises.
The pervasive dominance of franchise films in today's entertainment landscape is indicative of a broader trend that may be reaching its limits. The initial excitement and nostalgia associated with returning to beloved worlds have given way to a growing sense of fatigue as the relentless release of sequels, reboots, and spin-offs fails to meet audience expectations. With declining box office returns and diminishing critical and fan enthusiasm, it's clear that the once-reliable strategy of leveraging established IPs is no longer as effective as it once was. As studios grapple with this shifting dynamic, they may need to pivot towards more innovative and original storytelling to capture and sustain audience interest. The future of cinema could well depend on finding a balance between the comfort of familiar franchises and the invigorating potential of new, imaginative narratives.